Original subtitles

SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

WE USUALLY LOCK THE DOOR IN THE DARKROOM.

THIS IS THE SHORTSTOP,

WHICH IS ACIDIC ACID.

IT STOPS THE DEVELOPMENT.

IT SMELLS LIKE VINEGAR.

KODAK DEVELOPERS PREMIXED HERE ALREADY.

NOW WE MIX PART TWO

TO ABOUT 70°.

AND I VIEW IT--

"WINDBLOWN JACKIE"--

PLACE THE NEGATIVE.

AND THEN WE BLOW THE DUST.

DUST OFF. DUST OFF.

IN MY WHOLE CAREER OF SHOOTING JACKIE,

WHICH IS OVER 10 YEARS,

THE BEST WEEK WAS

THIS OCTOBER WEEK OF 1971

WHERE IN ONE WEEK I GOT HER FIVE TIMES.

IT STARTED THE 4th.

I GOT PICTURES OF JACKIE

WATCHING CAROLINE KENNEDY PLAYING TENNIS.

THE AGENTS GOT IN MY WAY, SORT OF.

AND THEN JACKIE ALL OF A SUDDEN TOOK OFF

INTO THE FIELDS OF CENTRAL PARK.

AND SHE GAVE ME A WORKOUT.

LUCKILY, I KEPT UP WITH HER.

I GOT HER CROSSING THE STREET HERE--

ONE OF MY GREAT SHOTS.

IN FACT, IT SOLD SEVERAL TIMES.

THEN THE 5th-- I GOT JACKIE

SHOPPING AT BONWIT TELLER'S--

ALL THE WAY FROM HER APARTMENT, COMING OUT;

AND ANOTHER ONE OF MY GREAT SHOTS

THAT RAN IN SEVERAL BOOKS-- MY BOOK,

BUT ALSO RAN IN GUCCI'S BOOK

BECAUSE SHE'S WEARING HER GUCCI BAG.

AND THE SAME DAY, THE 5th,

I GOT HER EARLIER IN THE AFTERNOON

WHEN SHE PICKED UP CAROLINE AT SCHOOL

AND THEY WENT SHOPPING.

AND I GOT ONE OF THE AGENTS BLOCKING ME THERE.

THAT WAS THE 5th.

THE FOLLOWING DAY I GOT JACKIE AGAIN

AT THE CORNER OF 85th AND FIFTH,

ABOUT TO CROSS.

AND THEN I COVERED OTHER EVENTS.

AND THEN OF COURSE THE 7th WAS MY GREAT DAY

WHEN I GOT THE "WINDBLOWN JACKIE,"

WHICH I CALL "MY MONA LISA."

A MODEL NEEDED PORTFOLIO PICTURES.

AND SHE LIVED ON 88th STREET.

SO I PICKED HER UP, SAID, "LET'S GO TO THE PARK HERE."

I PHOTOGRAPHED HER IN THE PARK.

HER NAME WAS JOYCE SMITH.

ON THE WAY OUT WE GO TO THE CORNER, WE CROSS THE STREET,

AND THERE'S JACKIE COMING OUT OF THE SIDE DOOR,

WALKING TOWARD MADISON AVENUE.

SHOULD I FOLLOW HER

AND GRAB PICTURES OF HERE THERE?

"NO," I SAID, "GET IN THE CAB."

FOR $2 I CAUGHT UP TO HER,

SHOT TWO SHOTS OF HER PROFILE.

WHEN THE TAXI DRIVER BLEW HIS HORN,

SHE TURNED

AND I GOT MY GREATEST SHOT-- "JACKIE WINDBLOWN."

I CALL THAT "THE MONA LISA SMILE."

I DON'T THINK SHE KNEW IT WAS ME.

THAT'S WHY SHE SMILED A LITTLE.

IN CERTAIN PRIMITIVE TRIBES, WE'RE TOLD,

THE NATIVES HAVE A HORROR OF BEING PHOTOGRAPHED.

THEY FEAR THE PHOTOGRAPHER

WILL STEAL THEIR VERY SOULS.

ACTUALLY, THERE'S A TRIBE RIGHT HERE IN AMERICA

THAT FEELS THE SAME WAY.

THIS IS WHERE KATHERINE HEPBURN LIVES.

AND OVER HERE IS WHERE RON GALELLA

IS STAKED OUT IN THE RAIN.

THAT'S HIS WIFE BETTY HOLDING THE UMBRELLA.

THE HOUSE IS SURROUNDED

BY A THICK 8' HEDGE.

A PAPARAZZO NEEDS A VIEWPOINT.

AND WE HAVE TO CREATE IT SOMETIMES.

DON'T DO TOO MUCH, RON, PLEASE.

GALELLA'S GARDENING BACKFIRES.

THE CHAUFFEUR QUICKLY STARTS THE CAR.

ALERT.

GALELLA SENSES THAT SOMETHING IS ABOUT TO HAPPEN.

HE'S RIGHT.

THE CHAUFFEUR HAS PULLED THE CAR

BETWEEN THE FRONT DOOR AND GALELLA'S BUSH,

BLOCKING HIS SHOT.

MISS HEPBURN ESCAPES UNPHOTOGRAPHED,

BUT GALELLA HAS ONE MORE CHANCE.

MISS HEPBURN IS STARRING IN A PLAY AT A DOWNTOWN THEATER.

HE HOPES TO BEAT HER THERE.

WHY DO ALL THIS JUST FOR A PICTURE

OF AN ACTRESS WHO YEARNS TO STAY OUT OF PUBLIC VIEW?

KATHERINE HEPBURN IS A TREMENDOUS SUPERSTAR.

THIS IS ONE OF THE REASONS

WHY I HAVE TO GET GOOD PICTURES OF HER,

RECENT, IN MY FILE.

SHE'S A VERY DIFFICULT PERSONALITY

BECAUSE SHE GUARDS HER PRIVACY VERY MUCH.

THIS TIME GALELLA'S TACTICS WORK.

THE LIMO PULLS INTO THE THEATER GARAGE

AND, AS GALELLA SAID LATER, "I GOT HER."

WE ASKED GALELLA IF HARASSING A 71-YEAR-OLD WOMAN IN THIS FASHION

WAS A DECENT WAY TO GO ABOUT MAKING A LIVING.

I BELIEVE IN WHAT I DO.

AND I DO NOT HAVE ANY GUILT.

THE PEOPLE OUT THERE WANT A GLIMPSE OF HER,

WANT TO KNOW HER HABITS, HER LIFESTYLES,

EVEN IF SHE'S PRIVATE.

THE FACT THAT SHE SHIELDS HERSELF WITH AN UMBRELLA--

THAT PICTURE'S INTERESTING. IT REFLECTS HER PERSONALITY.

WHEN YOU THINK OF RON, HE WAS A GENTLEMAN.

- SELFISH. - A CREEP.

SOFT-SPOKEN.

- MONEY-GRUBBING. - OR SCUM.

- POLITE. - SECOND-RATER-- THAT'S WHAT HE IS.

WELL, I ALWAYS FOUND HIM TO BE A DELIGHTFUL, CHARMING PERSON.

EVERYTHING YOU WOULDN'T THINK RON GALELLA WOULD BE.

I LOVE THE GUY.

I THINK HE'S, LIKE, A NATIONAL TREASURE.

IN THE '70s, IN THE '80s RON WAS REALLY TREATED LIKE A LEPER.

- A MAJOR NUISANCE... - THE WORST KIND OF HUMAN BEING.

...TO SOCIETY IN GENERAL.

- JUST ANOTHER PUTZ. - A PAIN IN THE BUTT.

HE'S JUST THAT PAIN-IN-THE-ASS PHOTOGRAPHER.

HE DID FOR THE LIVING

WHAT OUIJA DID FOR THE DEAD.

THEY KNEW HE WOULD BE THERE. THEY DIDN'T KNOW WHEN.

HE CAUGHT THEM AT A MOMENT IN TIME

WHEN THEY WERE NOT READY FOR THE PICTURE.

HE WAS LIKE A KID, YOU KNOW, WHO WAS LIKE,

"OH, WHAT DID I DO THAT WAS SO WRONG?

I JUST TOOK PICTURES."

HE APPROACHED EVERYTHING WITH THAT INNOCENCE.

HE WANTED TO SHOW THE HUMANITY,

BUT HE ALSO WANTED TO GLAMORIZE THAT HUMANITY.

YOU KNOW, DAY AND NIGHT, DAY AND NIGHT HE WOULD BE OUT THERE SHOOTING.

SOMETIMES EXTRA SECURITY WAS POSTED

JUST TO ALERT PEOPLE IF RON GALELLA WAS COMING.

HE WENT TO EXTREME LENGTHS TO GET A SHOT.

RON GALELLA IS SHOWING IT JUST LIKE IT IS.

THE END RESULT OF HIS WORK SEEMS SUPERIOR TO ME.

CLEARLY YOU'RE VERY INTERESTED IN THE HISTORY OF PHOTOGRAPHY AND EVERYTHING.

WHY ARE YOU MAKING A PIECE ON RON GALELLA?

WHEN RON OFFERS INSTRUCTION OR TIPS

TO YOUNG ASPIRING PHOTOGRAPHERS,

I THINK IT'S CLEAR THAT HE GIVES A BIT MORE,

OFFERS A BIT MORE THAN YOU MIGHT GET IF YOU WERE IN A PHOTOGRAPHY SCHOOL

WHERE YOU LEARN HOW TO USE THE CAMERA

AND COMPOSE THE SUBJECT

AND DEVELOP THE PICTURES AND SO FORTH.

HE GIVES TIPS THAT WOULD PROBABLY BE CLASSIFIED

AS TIPS ON HOW TO BE SOCIOPATHIC.

LEARN TO SNEAK INTO EVENTS, CRASH EVENTS.

ALWAYS DRESS RIGHT. ANY EVENT-- I ALWAYS HAD A SUIT ON.

AND NEVER CHECK YOUR COAT.

IN THE WINTER YOU LEAVE YOUR COAT IN THE CAR.

WITHOUT A COAT IT LOOKS LIKE YOU BELONG THERE,

YOU TOOK A BREAK OUTSIDE OR SOMETHING.

BE AWARE OF WHERE THE KITCHEN IS.

THAT'S ONE WAY OF GETTING IN IN ANY HOTEL-- THE KITCHEN.

ANOTHER WAY OF SNEAKING IN

IS TO FORGE CREDENTIALS.

FIND SOMEBODY THAT'S INVITED.

GO TO KINKO AND DUPLICATE IT.

AND YOU GET YOUR NAME IN.

SHOOT FAST.

THE REASON WHY

ONE-- YOU WANT TO GET THE SURPRISED EXPRESSION.

AND THE WAY I SHOOT IS THIS WAY--

LOOK AT THE SUBJECT, WITH A WIDE-ANGLE LENS.

SHOOT SHOOT SHOOT,

NOT LOOK THROUGH THE LENS. YOU DON'T SEE--

YOU DON'T SEE THE SUBJECT'S EYES.

YOU DON'T SEE THE DETAIL.

AND THE SECOND REASON YOU SHOOT FAST

IS IN CASE THE STAR SAYS,

"NO, NO PICTURES," THEY DON'T WANT NO PICTURES,

AND HE MEANS IT.

SO YOU SAY, "OKAY," AND YOU LEAVE HIM.

BUT YOU'RE AHEAD 'CAUSE YOU GOT THE ONE OR TWO SHOTS BEFORE.

YOU HAVE TO BE ONE UP ON THESE PEOPLE.

THIS IS THE ART OF PAPARAZZI.

THIS IS THE LOBBY OF THE HOTEL.

THERE'S STAIRS HERE. THERE'S STAIRS HERE.

IT'S IN THIS ROOM. THIS IS THE WEST FOYER.

TODAY WE'RE GOING TO THE WALDORF ASTORIA

WHERE THERE'S AN EVENT--

THE JACKIE ROBINSON FOUNDATION ANNUAL AWARDS DINNER

WHERE ROBERT REDFORD IS BEING HONORED.

WE GO IN, GO THIS WAY.

EITHER WAY LEADS TO THIS--

THIS IS THE ENTRANCE TO THE WEST FOYER.

BUT YOU COULD BYPASS THE STAIRS

AND GO RIGHT INTO THE BALLROOM.

AND THERE'S ALL THESE DOORS. THAT'S ONE WAY OF SNEAKING IN.

THE OTHER WAY IS-- THERE'S STAIRS HERE

THAT LEAD UP TO THE FIRST BALCONY.

AND YOU COME DOWN THE STAIRS AND YOU'RE IN THIS WAY.

YOU GET IT?

OKAY, SO LET'S GO DOWN. I HAVE TO GET MY CAMERA DOWNSTAIRS.

LET'S GO DOWN.

MY PURPOSE REALLY IS

TO GET PICTURES OF ROBERT REDFORD

AND PRESENT HIM WITH MY BOOK.

OKAY.

LET'S GO.

LOOK-- DEER.

WE'RE RUNNING A LITTLE LATE,

WHICH IS BAD BECAUSE THEY'RE GONNA GO INTO THE BALLROOM

AND GO TO THE TABLES.

SO IT'S GONNA BE HARD FOR ME-- I'M GONNA TRY, OF COURSE...

TO GIVE HIM THE BOOK THEN.

IN MY CAREER IT'S NECESSARY TO SNEAK IN

BECAUSE I'M A FREELANCER.

AND YOU'RE THE LAST ON THE LIST TO GET INVITED.

BECAUSE THESE PEOPLE THERE-- I DON'T KNOW,

THEY'RE LIKE GESTAPO, THESE PRESS AGENTS.

WHO'S FILMING HERE?

IT'S CALLED "SALT," WITH ANGELINA JOLIE.

YEAH? SHE'S HERE?

ANGELINE JOLIE IS IN THIS MOVIE.

SHE'S NOT HERE.

SHE'S NOT HERE. TOO BAD.

I'D RATHER SHOOT HER THAN REDFORD.

WELL, THIS IS THE WEST FOYER.

THIS IS WHERE THE RECEPTION IS SUPPOSED TO BE,

UNLESS IT'S THE OTHER SIDE.

I'M A LITTLE LATE. WEST FOYER?

YEAH, EVERYTHING'S FINISHED UP THOUGH.

WE JUST FINISHED UP ABOUT 15 MINUTES AGO.

- YEAH? - YEAH.

OKAY, WE'RE GONNA TRY TO GO TO THE OTHER SIDE

AND GET INTO THE PRIVATE RECEPTION, SUPPOSEDLY.

EXCUSE ME.

- HELLO. - HI, WHERE'S ROBERT REDFORD?

- HUH? - WHERE'S ROBERT REDFORD?

WHERE? I HAVE NO EARTHLY IDEA.

EXCUSE ME, IS ROBERT REDFORD IN THE ROOM HERE?

- YES, HE IS. - WHERE IS HE?

RIGHT IN THE MIDDLE OF THAT CLUSTER.

EXCUSE ME.

SORRY.

- EXCUSE ME. - YOU GOTTA GET IN THERE.

YEAH YEAH.

- ROBERT, HI, HI. -RON.

- I'M HERE LATE. - HOW ARE YOU?

COULD YOU GIVE ME A COUPLE OF SHOTS? - SURE.

BOB, BOB.

BOB, ONE MINUTE. I WANT TO GIVE YOU THE BOOK.

I WANT TO HAND IT TO HIM. YOU DON'T MIND LETTING ME GIVE HIM THE BOOK?

- LISTEN LISTEN, ONE MINUTE. - GIVE ME THE BOOK. I'VE GOT TO GET IN THERE.

YEAH YEAH, OF COURSE. YOU'RE IN THE BOOK.

I'LL COME GET IT FROM YOU LATER.

NO, I WANT TO HAND IT TO ROBERT.

- OKAY, GIVE IT TO ME. - THERE HE IS.

- THANKS. - SHAKE HANDS. THANK YOU.

OKAY, WE GOT IT, YOU SEE?

LUCKILY HE CAME OUT.

RON-- HE'S SORT OF SINGULARLY UNAWARE

OF THE IMPRESSION THAT HE GIVES TO PEOPLE.

YOU KNOW, WHEN YOU DRIVE UP TO HIS HOUSE,

YOU KNOW, HIS NAME IS RON GALELLA

AND HE LIVES IN NEW JERSEY.

AND YOU DRIVE UP TO HIS HOUSE FOR THE FIRST TIME

AND YOU GO, "MY GOD, IT'S 'THE SOPRANOS.'"

THESE ARE THE PICTURES

FROM "NO PICTURES," FROM THE BOOK.

TARGETS OF THE LENS LABEL THE PAPARAZZO

A PARASITE, A PERSONALITY PROFITEER.

GALELLA'S LIFE IS FILLED WITH REJECTION.

AND THIS ONE.

YEAH, PUT IT IN THE TRUNK. YOU KNOW HOW TO OPEN THE TRUNK?

YEAH.

HOW DID I GET STARTED IN PAPARAZZI?

MY MOTHER WAS INTERESTED IN GLAMOUR, MOVIES,

THE ACCENTS OF CARY GRANT, DAVID NIVEN,

AND EVEN RONALD COLMAN WHO SHE NAMED ME AFTER.

BUT IT WAS THE UNITED STATES AIR FORCE

THAT GAVE ME MY CAREER.

I SHOT CELEBRITIES COMING TO THE BASE

FOR THE BASE NEWSPAPER.

WE HAVE THREE ROBERT REDFORDS...

RIGHT.

...AND THEN THE 12 STEVE McQUEENS.

- CAME OUT GREAT, DIDN'T IT? - YEAH YEAH, VERY GOOD.

THESE ARE ALL 30x40.

- WHO IS THIS? - THIS IS CATHERINE DENEUVE,

- THE FRENCH ACTRESS. - OH, YEAH.

MICK JAGGER, BRUCE SPRINGSTEEN AND...

- BOB DYLAN. - BOB DYLAN.

A PHOTOGRAPHER--

YOU HAVE A GOOD GIMMICK.

WHEN YOU SEE A PRETTY GIRL ON THE STREET, YOU SAY,

"I WANT TO TAKE A PICTURE."

THAT WAY YOU CAN GET ACQUAINTED, SHOOT PICTURES OF HER.

AND I PLACED HER IN NICE SETTINGS

AND MAKE IT INTERESTING,

I USED MY ARTISTIC BACKGROUND.

AND I LOVED IT, YOU KNOW.

THEY'RE ALL 16x20, ALL 12 EACH.

THAT'S WHY HE GIVES ME BIG DISCOUNTS.

- $145 EACH. - THAT'S $175.

THAT'S $175, THAT'S NOT A FOUR. OH.

WHAT, DO YOU CHARGE EXTRA FOR THE SCANNING?

$150 IS A LOT. WHY DON'T YOU MAKE IT LESS?

NOW IF YOU GIVE ME A GOOD PRICE,

I COULD ORDER THREE MORE FOR ME.

I BET YOU HE GOES DOWN IN THE PRICE.

HE'LL GO DOWN IN THE PRICE.

THE PAPARAZZI ARE DEFINED AS PESTS AT BEST, LEECHES AT WORST.

DOES THE "PAPA" PART COME FROM THE POPPING OF FLASHBULBS, PERHAPS?

I SUPPOSE A PAPARAZZO IS SOMEBODY

WHO HAS NO DEFINITE APPOINTMENT TO TAKE YOUR PICTURE.

THE DEFINITION OF PAPARAZZO

COMES FROM THE ITALIAN, "MOSQUITO."

THEY BUZZ AROUND. THEY ARELIKE INSECTS ACTUALLY.

AND THEY ALSO STING.

THE TERM "PAPARAZZI" COMES FROM THIS FILM,

IN WHICH ONE OF THE PACK IS ACTUALLY NAMED PAPARAZZO.

WELCOME TO STALEY-WISE.

HI.

SORRY WE'RE LATE.

THIS IS GREAT.

I GAVE YOU ADDITIONAL THREE. AMSTERDAM WANTED TWO.

YOU MENTIONED MICK JAGGER.

THE REAL PAPARAZZI ARE THE ONES

WHO COME UP WITH THESE AMAZINGLY CREATIVE WAYS

OF INVADING SOMEBODY ELSE'S PRIVACY.

NEW BOOK PROPOSALS.

THEY DID TWO OF MY BOOKS, BOTH SUCCESSFUL.

THE NAME OF THE GAME IS I THINK THAT CELEBRITIES--

THAT THEY WANT TO CONTROL THEIR IMAGE.

THEY WANT TO CONTROL THE PRESS.

AND I'M SAYING, "NO, I WANT THE CONTROL.

I'M THE ARTIST. THIS IS MY MEDIUM."

RON, DO YOU WANT TO BE SOMEBODY FAMOUS?

I AM.

I AM RON GALELLA, PAPARAZZO SUPERSTAR.

PHOTOGRAPHY-- IT'S THE EASIEST MEDIUM

IN WHICH TO BE COMPETENT.

ANYBODY WITH A POINT-AND-SHOOT CAMERA

CAN TAKE A COMPETENT PICTURE.

BUT IT'S THE HARDEST MEDIUM IN WHICH TO HAVE

TO EXPRESS SOME KIND OF PERSONAL VISION,

BECAUSE THERE IS NO TOUCH, THERE IS NO HAND,

THERE IS NO PHYSICALITY.

THE FACT THAT YOUCAN HAVE SOMETHING

THAT'S RECOGNIZABLE FROM 50' ACROSS THE GALLERY

AS A DIANE ARBUS

OR AN IRVING PENN OR WHATEVER--

THAT FACT THAT YOU CAN HAVE RECOGNIZABLE AUTHORSHIP

MEANS THEY REALLY HAVE DONE SOMETHING,

BECAUSE IT'S A DAMN HARD THING TO DO.

THERE'S PROBABLY ABOUT

THREE MILLION-PLUS IMAGES DOWN HERE,

BETWEEN PRINTS, SLIDES AND NEGATIVES,

GIVE OR TAKE A COUPLE HUNDRED THOUSAND.

WHEN I DESIGNED THIS WHOLE LAYOUT,

THERE WAS SO MUCH MATERIAL THAT I HAD TO MAKE THE AISLES

A LITTLE SMALL, NARROW,

BECAUSE THERE WERE SO MUCH BINDERS HERE FOR COLOR

THAT YOU HAVE TO GO SIDEWAYS IN IT, SEE?

LIKE...

IN FACT, EVEN IN THE FURNACE ROOM HERE

WE HAVE FILES, SEE? COME OVER HERE.

HERE WE HAVE WHAT'S KNOWN AS THE "S" ROOM,

WITH PAUL NEWMAN, RONALD REAGAN

AND ROBERT REDFORD AND JOHN TRAVOLTA

AND SINATRA OF COURSE-- "S".

LOOK AT THIS FILE. THIS IS ALL SINATRA,

AT LEAST TWO ROWS OF SINATRA.

THEN WE HAVE PAUL NEWMAN DOWN HERE,

ROBERT REDFORD OVER HERE,

JOHN TRAVOLTA OVER THERE.

THESE ARE ALL THE GOLDEN GLOBE AWARDS

AND THE ACADEMY AWARDS.

HE'S COVERED THEM SINCE 1968.

MOST FAMOUS PEOPLE ALREADY HAVE

THEIR OBITUARIES WRITTEN UP

BY "THE NEW YORK TIMES" AND ALL THOSE KINDS OF NEWSPAPERS.

SO WE TRY TO DO THE SAME THING WITH PHOTOGRAPHS.

YOU KNOW, IF SOMEONE IS EITHER SICK

OR WE KNOW THAT UNFORTUNATELY THEY'RE GONNA DIE SOON,

SOMETHING LIKE THAT, WE TRY TO DO THOSE PICTURES IMMEDIATELY,

SO THEY ARE AVAILABLE FOR PUBLICATION.

IT SOUNDS A LITTLE MORBID,

BUT THAT'S BASICALLY HOW WE, YOU KNOW, MAKE THE MONEY.

HERE WE'VE GOT SOME BILLY JEAN KING

WHO'S GOT A BIG FILE. WE GOT HER IN 1972.

THERE'S A FEW SHOTS OF HER WITH ELTON JOHN IN SOME OF THESE PICTURES.

THIS SHOT'S RIDICULOUS. THAT'S GOING ON THERE.

WE HAVE A BUNCH OF ANDY KAUFMAN

FROM THE "FRIDAYS" SHOW BACK IN THE EARLY '80s.

AND WE JUST FOUND PICTURES OF LARRY DAVID

AND KRAMER FROM "SEINFELD." HE DIDN'T MAKE PRINTS OF THEM

BECAUSE HE DIDN'T KNOW WHO THEY WERE AT THE TIME.

THEY WERE JUST RANDOM WRITERS FOR THE SHOW

AND HE WAS TAKING PICTURES OF ANDY KAUFMAN.

I MEAN, WE THOUGHT THAT WAS A PRETTY BIG FIND.

PRINCESS DI--

I DID NOT PHOTOGRAPH HER A LOT

BECAUSE SHE RARELY CAME TO NEW YORK.

I ONLY GOT ABOUT FIVE OR SIX TAKES.

BUT SHE WAS NICE.

WE ALL MISS HER.

THIS IS ALL MICHAEL JACKSON.

YOU SEE HE HAS A BIG FILE.

HE'S WITH HIS-- EMMANUEL LEWIS AND BROOKE SHIELDS.

SOMETIMES HE WORE MASKS FOR SANITARY REASONS.

HE SAW ME,

HE ROLLED DOWN THE WINDOW, HE SHOOK MY HAND.

DONALD TRUMP.

THERE'S A SILHOUETTE OF HIM.

WITH DIANA ROSS.

THIS IS AN EARLY PICTURE WHEN HE WAS BLACK,

BEFORE SURGERY.

A LITTLE SURGERY.

HE WENT TO SEE "CATS" AT THE WINTER GARDEN THEATRE.

AND HE HAD HIS HAND UP.

AND THIS PICTURE RAN IN "US MAGAZINE,"

A DOUBLE-PAGE SPREAD-- JUST HIS HAND.

IMAGINE THAT. JUST MICHAEL JACKSON'S HAND--

A BIG PICTURE.

HE FALLS INTO THE GRAND TRADITION

OF STREET PHOTOGRAPHERS.

STREET PHOTOGRAPHERS CAN SHOOT

A LOT OF FRAMES VERY QUICKLY.

AND YOU'RE PROBABLY GUARANTEED THERE'S GONNA BE

SOMETHING IN THERE THAT'S USEABLE, IF NOT GREAT.

BUT WHAT MATTERS IS-- DID YOU GET THE PICTURE?

AND WAS THE PICTURE USED? DID YOU MAKE MONEY ON IT?

THEN YOU'VE DONE YOUR JOB. THEN YOU'VE DONE IT.

AND THAT IS WHAT RON--

HE COULDN'T CARE LESS ABOUT THE PEOPLE.

HE'S PASSIONATE ABOUT WHAT HE DOES.

IN FACT, IT IS THE PASSION

THAT SEPARATES HIM FROM SO MANY OF THE OTHERS.

I THINK THE THING THAT REALLY DRIVES RON

IS YOU NEVER KNOW--

YOU NEVER KNOW WHAT'S GOING TO HAPPEN.

HE'S GOT THIS KIND OF ALMOST CHILDLIKE CURIOSITY.

AND THERE'S TO HIM AN EXCITEMENT ABOUT--

YOU NEVER KNOW WHAT'S GONNA HAPPEN.

SO NICE OF YOU TO COME.

-HOW OLD ARE YOU NOW? - PARDON ME?

- HOW OLD ARE YOU? - 77.

STILL GOING. MORE BOOKS.

YOU'RE TOO OLD TO HIDE IN THE BUSHES NOW, THOUGH.

NO, THE GOLD IS IN THE FILES.

MY FIRST TAKE OF JACKIE

WAS MAY, 1967--

THE VERY FIRST TAKE.

SHE WENT TO THE WILDENSTEIN GALLERY.

AND IT WAS IMPOSSIBLE

TO GET PICTURES IN THE MUSEUM

BECAUSE IT WAS JUST CROWDED WITH PEOPLE.

AND HER DATE WAS ANDRE MEYER.

HE WAS A FINANCIER.

SO I WAITED FOR HER TO COME OUT AND I FOLLOWED THEM.

AND I FOUND OUT WHERE JACKIE LIVED-- 1040 5th AVENUE.

AND THEN FROM THEN ON IT WAS A MARATHON.

JACKIE ONASSIS-- AN INCREDIBLE STORY

BECAUSE OF THE CONTROVERSY AROUND HER.

SHE WAS MARRIED TO PROBABLY ONE OF THE GREATEST PRESIDENTS EVER

AND SHE ENDS UP WITH THIS GREEK TYCOON

WHO'S 30 YEARS OLDER THAN HER.

IT WAS UNIMAGINABLE

FOR HER TO MARRY ARISTOTLE ONASSIS.

JACKIE HAD JUST COME OUT OF MOURNING.

WHAT, ARE YOU GONNA HARASS HER?

I MEAN, SHE'S GOT THE KIDS,

SHE'S GOT THE THINGS, TRYING TO MAKE A LIFE.

HER FAME THEN WAS SO COMPELLING.

AND IT KIND OF REMAINS.

WHETHER IT WAS NEWS ABOUT JACKIE O

AND HOW SHE WAS FEELING THAT DAY

OR WHAT WAS GOING ON IN HER LIFE-- I MEAN, THAT WAS NEWS.

AND SHE DIDN'T REALLY COURT PUBLICITY

BUT GOT IT, AND WENT OUT INFREQUENTLY.

SHE MAYBE WENT OUT MAYBE TO A FUNCTION

MAYBE ONCE A MONTH.

SO UNLESS YOU WAITED OUTSIDE OF HER HOUSE...

Galella: SEPTEMBER 24th, 1969,

I ARRIVED HERE.

I WENT TO A NEXT-DOOR NEIGHBOR

OVER THERE-- 1045.

AND I ASKED A DOORMAN WHO WAS VERY FRIENDLY TO ME.

I TIPPED HIM OFF USUALLY $10 OR $15.

AND HE SAID, THEY'RE ON A BIKE IN CENTRAL PARK--

JOHN JUNIOR AND JACKIE.

I IMMEDIATELY WENT UP THE PATH THERE

AND I SAW THEM APPROACHING THIS PATH.

I HID BEHIND THAT TREE THERE.

YOU SEE THAT GIRL WHO'S JOGGING?

RIGHT THERE IS WHEN I SHOT THE PICTURES.

SHE NEVER SAW ME TILL I GOT OUT OF THE BUSHES.

AND JACKIE TURNED TO ME-- SHE WAS RIGHT HERE--

"OH, IT'S YOU AGAIN."

IN THE MEANTIME, THEIR TOP AGENT MR. CONNELLY

COMES ON A BIKE, SAYS, "YOU'VE HAD ENOUGH."

AND I SAID, "YES, I'M LEAVING."

JACKIE SAID,

"MR. CONNELLY, SMASH HIS CAMERA."

THE AGENTS COME RUNNING AFTER ME.

AND THEY SAID, "GIVE US THE FILM."

BUT I SAID, "NO, YOU'RE NOT GETTING THE FILM."

I SLAMMED THE TRUNK OF MY CAR WITH THE FILM AND CAMERA IN THERE.

AND THEN THEY SAID, "GET IN OUR SECRET SERVICE CAR."

AND THEY DROVE ME TO THE 19th PRECINCT

AND THEY ARRESTED ME.

THIS GAVE RON, HE FELT, THE JUSTIFICATION

TO SUE MRS. ONASSIS FOR HARASSMENT.

AND HE FILED A $1.3 MILLION

LEGAL SUIT AGAINST HER

FOR BLOCKING HIM FROM TAKING PICTURES,

FROM EARNING A LIVING.

MRS. ONASSIS COUNTERSUED AGAIN FOR HARASSMENT,

CLAIMING THAT HE WAS

TERRIFYING HER AND HER CHILDREN

BY STALKING HER THE WAY HE DID.

I THOUGHT SHE WOULD SETTLE OUT OF COURT,

BUT SHE DECIDED TO GO TO COURT

BECAUSE ARI PAID THE BILLS.

ARI'S BILLS CAME TO $500,000.

AND MY LAWYERS-- THEY ONLY CHARGED ME

$40,000 FOR THE WHOLE THING.

IT WAS A BARGAIN.

EVERY PUBLICATION THROUGHOUT THE WORLD

WANTED TO PHOTOGRAPH MRS. ONASSIS

DURING THE COURSE OF THIS TRIAL.

THERE WERE LINES OUTSIDE THE COURTROOM,

JUST WAITING TO COME IN AND SEE MRS. ONASSIS

WHO WAS IN TRIAL EVERY DAY.

THERE WAS MARTIN LONDON REPRESENTING MRS. ONASSIS.

THERE WAS AL JULIEN AND MYSELF

REPRESENTING RON GALELLA.

AND I WAS THERE REPRESENTING THE SECRET SERVICE

WHO WERE GUARDING CAROLINE AND JOHN.

JACKIE HAD LOST HER PROTECTION

WHEN SHE MARRIED MR. ONASSIS.

THAT'S THE LAW.

BUT CHILDREN OF A FORMER PRESIDENT

GET SECRET SERVICE PROTECTION

UNTIL THEY ARE 18 YEARS OLD.

MRS. ONASSIS TOOK ADVANTAGE OF THAT.

WHEN THE CHILDREN WERE WITH HER,

THE SECRET SERVICE WERE THERE.

AND SHE HAD THE ADVANTAGE OF THAT.

ALL OF THESE PICTURES HAVE BEEN TAKEN IN PUBLIC PLACES.

NOW IF THERE'S GOING TO BE RESTRICTION

ON THE RIGHT OF THE PHOTOGRAPHER TO OPERATE IN PUBLIC PLACES,

THAT'S FOR A JUDGE TO SAY, NOT FOR A LAWYER.

WOULD YOU SAY THEN THIS MAY VERY WELL BE

A PRECEDENT-MAKING CASE?

I DON'T THINK THERE'S ANY QUESTION

THAT THERE'S VERY VITAL PRECEDENT INVOLVED HERE.

THERE'S A CONFLICT PERHAPS

WITH RESPECT TO RIGHTS OF PRIVACY.

AND THERE CERTAINLY IS A CONFLICT

WITH RESPECT TO WHAT'S THE RIGHT OF THE PRESS

AND WHAT'S THE RIGHT OF THE PHOTOGRAPHER SERVING THE PRESS.

I TRIED THE CASE WITH MY LATE PARTNER ALFRED JULIEN

AND HE WAS QUESTIONING HER.

AND OF COURSE THE BIG CONSTITUTIONAL ISSUE IS--

ARE YOU A PUBLIC PERSON?

IF YOU ARE, IT'S NOT FREE REIN,

BUT YOU CERTAINLY DON'T HAVE THAT KIND OF PROTECTION

THAT A PRIVATE INDIVIDUAL WILL HAVE.

AND SHE WAS ASKED, "DO YOU CONSIDER YOURSELF A PUBLIC FIGURE?"

AND SHE SAID NO.

AND HE TURNED TO THE 200 PHOTOGRAPHERS

AND JOURNALISTS THAT WERE THERE AND SAID,

"I GUESS THEY'RE ALL HERE TO SEE ME."

THE JUDGE AT THE TRIAL--

HE ASKED US-- EVERYBODY TO PUT IN PROOF

AS TO HOW FAMOUS WAS

JACQUELINE KENNEDY ONASSIS.

IT CAME DOWN TO TWO, AND ONLY TWO WOMEN.

THERE WAS NO DISCUSSION ABOUT A MOVIE STAR.

THERE WAS NO DISCUSSION ABOUT A TELEVISION STAR.

THE DISCUSSION WAS--

QUEEN ELIZABETH, JACKIE KENNEDY ONASSIS.

RON'S LAWYERS PERSISTENTLY TRIED TO PROVE

THAT THE PHOTOGRAPHS SHOWED

THAT JACKIE WAS NOT AT ALL TERRIFIED,

THAT MOST OF THE PICTURES SHOWED HER SMILING,

SO HOW COULD THAT INDICATE SOMEONE'S ALARM?

JULIEN ASKS, "ISN'T THAT A SMILE ON YOUR FACE?"

JACKIE RESPONDS,

"NO, I'M WALKING VERY FAST

AND THE PHOTOGRAPHER IS RESTRICTING MY PASSAGE."

JULIEN ASKS, "DOES THIS PICTURE

SHOW YOU FRIGHTENED OR ALARMED?"

"OBJECTION." "OVERRULED."

"I COULDN'T SAY, SIR," ANSWERS MRS. ONASSIS.

JULIEN: "ARE YOU LOOKING AT THE CAMERA?

ARE YOU SMILING?"

MRS. ONASSIS: "MY MOUTH IS OPEN, SIR."

"ARE YOU SMILING?" "NO, SIR."

"OH, BUT DOES THIS SHOW SOMEONE FRIGHTENED?"

"IT COULD BE, SIR."

ALL SHE HAD TO DO WAS WALK OUT AND SAY,

"GOOD MORNING, MR. GALELLA,"

KEPT A STRAIGHT FACE AND GET INTO HER TAXI.

HE COULD HAVE HAD A REALLY DULL PICTURE,

BUT JACKIE RUNNING ACROSS

AWAY FROM HIM IN CENTRAL PARK

IS AN INCREDIBLE PICTURE.

FIRST LADIES DON'T RUN. CAN YOU IMAGINE PAT NIXON

OR BARBARA BUSH RUNNING, YOU KNOW?

IF YOU STALK SOMEBODY

TIME AFTER TIME AFTER TIME,

IT'S DEPRESSING. IT'S DEMORALIZING ON THE SUBJECT--

FOR HIM TO HAVE "GREAT ART," RIGHT? QUOTE UNQUOTE.

WE DON'T HAVE A SORT OF GENERAL RIGHT OF PRIVACY.

WE HAVE A RIGHT OF PRIVACY

AGAINST THE GOVERNMENT IN A LOT OF WAYS,

BUT WE DON'T HAVE A RIGHT TO PRIVACY AGAINST EACH OTHER.

WHY SHOULD HE BE DEPRIVED FROM MAKING A LIVING?

HE WASN'T DOING ANYTHING CRIMINAL.

HE WAS NEVER CHARGED WITH ANYTHING CRIMINAL.

WE FELT STRONGLY ON HIS SIDE ABOUT IT.

HE HAD A RIGHT TO MAKE THAT LIVING.

SHE WAS IN SUCH TREMENDOUS DEMAND THAT EVERY MAGAZINE--

SO WHAT DOES THAT MEAN? WHAT DOES IT MEAN?

DOES IT MEAN YOU CAN DO WHATEVER IT TAKES TO TAKE A PICTURE?

- YOU CAN'T COMMIT A CRIME. - YOU KNOW, THIS IS ALL PART

OF THE JOURNALISTIC FIRST AMENDMENT BULLSHIT.

THE FIRST AMENDMENT DEALS

WITH THE SUBSTANCE OF THE PHOTOGRAPH--

I HAVE NO PROBLEM WITH THAT.

WHAT I HAVE A PROBLEM WITH

IS WHAT THE SO-CALLED JOURNALIST DOES TO GET IT.

THE ARGUMENT THAT THE PUBLIC IS ENTITLED TO KNOW THE TRUTH

IS BULLSHIT. THE JOURNALIST--

YOU DON'T HAVE TO BE A JOURNALIST TO HAVE A FIRST AMENDMENT RIGHT.

EVERYBODY HAS A FIRST AMENDMENT RIGHT.

SO HE HAS A RIGHT TO TAKE A PICTURE

OF SOMEBODY ON A PUBLIC STREET.

NOW THE QUESTION IS-- WHAT'S THE LAW?

CAN YOU TAKE A PICTURE FROM ACROSS THE STREET?

THAT'S PROBABLY NOT TOO OFFENSIVE.

CAN I JUMP OUT IMMEDIATELY IN FRONT OF YOU

AND STICK A CAMERA SIX INCHES FROM YOUR NOSE

AND JUMP UP AND DOWN AND JUMP BACKWARDS?

CAN I DO IT EVERY DAY?

CAN I SCARE YOUR CHILDREN?

CAN I MAKE YOUR LIFE MISERABLE?

NOT AN EASY QUESTION TO ANSWER.

IT'S A SLIPPERY SLOPE.

BACK OFF THE DRIVE, GENTLEMEN.

BACK OFF.

HEY, YOU, BACK OFF!

THIS IS AN ALLIANCE

BETWEEN THE PHOTOGRAPHERS,

THE CELEBRITIES, THE PUBLISHERS

AND THE READERS OF THE MAGAZINES

AND THE VIEWERS

OF THE PROGRAMS ON TELEVISION.

YOU CAN'T SEPARATE

ANY ONE OF THOSE PIECES OF THE ALLIANCE.

PEOPLE SINCE THE DAWN OF TIME HAVE BEEN INTERESTED

IN THE CELEBRITIES OF THEIR WORLD

AND I THINK THAT WE TRULY ARE BORN WITH A GOSSIP GENE.

WHEN WE'RE IN HIGH SCHOOL

EVERYONE GOSSIPS ABOUT THE IN GROUP.

IN ENGLAND THEY GOSSIP ALL ABOUT THE ROYAL FAMILY,

AND THEY'VE BEEN DOING THAT FOR LIKE 2000 YEARS.

AND I'M SURE BACK IN THE DAY

PEOPLE WERE GOSSIPING ABOUT THE PHARAOH

AND THE PHARAOH'S WIFE.

IN THE DAYS OF THE SILENT MOVIES,

THE VERY EARLY DAYS,

THE AUDIENCE DIDN'T KNOW WHO THE STARS WERE

BECAUSE THE PRODUCERS WORRIED

THAT IF THE STARS BECAME

A COMMODITY IN THEIR OWN RIGHT,

THAT THEY WOULD DEMAND TOO MUCH MONEY.

IT WENT FROM STARS BEING COMPLETELY ANONYMOUS

TO THE STARS BEING VERY WELL KNOWN,

BECAUSE THE PRODUCERS SUDDENLY REALIZED

THAT IT'S ALMOST LIKE A PRODUCT EXTENSION--

IF YOU'VE GOT A MOVIE,

IF YOU CAN THEN SELL STORIES

ABOUT THE STARS IN THE MOVIE.

BUT IT WAS A VERY DIFFERENT KIND OF CELEBRITY

FROM WHAT WE HAVE TODAY, BECAUSE IT WAS RARE.

IT WAS SCARCE.

THE STUDIOS CONTROLLED IT.

THEY DECIDED WHAT WE NEEDED TO KNOW.

IT WAS THE DEATH OF THE STUDIO SYSTEM

THAT LAUNCHED WHATEVER IS GOING ON NOW.

I THINK IT REALLY BEGAN WHEN EDDIE FISHER

AND ELIZABETH TAYLOR AND RICHARD BURTON

WENT TO ROME TO DO "CLEOPATRA."

AND SUDDENLY THE AFFAIR BEGAN

BETWEEN BURTON AND TAYLOR

AND THE WHOLE WORLD WAS INTERESTED.

IT WAS BLATANT ON THE SET

THAT THERE WAS THIS AFFAIR GOING ON.

AND THEN ALL HELL BROKE LOOSE--

PAPARAZZI WITH THE VESPAS AND SCOOTERS

CHASING THEM AROUND ROME.

AND THE MORE INTEREST THERE IS,

THE MORE MONEY SOMEBODY WHO HAS THE PICTURES IS GONNA MAKE.

I HAVE A BIGGER FILE OF LIZ TAYLOR THAN JACKIE,

BECAUSE SHE'S MORE ACCESSIBLE.

SHE ATTENDS PREMIERES AND PUBLIC EVENTS, YOU KNOW.

ELIZABETH TAYLOR, RICHARD BURTON

HAVE A YACHT-- THE KALIZMA.

IT WAS MOORED ON THE THAMES RIVER.

I GOT A TIP FROM ONE OF THE SAILORS

THEY WERE GONNA HAVE A PARTY THAT WEEKEND.

ADJACENT TO THE YACHT

THERE WAS A FIVE-STOREY WAREHOUSE.

I PAID THE WATCHMAN $12

TO LOCK ME IN THE WAREHOUSE

AT 4:00 P.M. FRIDAY AFTERNOON.

I WAS A PRISONER IN THAT WAREHOUSE FOR THE WEEKEND.

SO I GOT A SHOPPING BAG FULL OF GROCERIES--

HERO SANDWICHES, CREAM SODA, CAKE,

AND TOILET PAPER TOO.

I SAW RATS ON THE FIRST FLOOR, SECOND FLOOR.

IN FACT, THE FIRST NIGHT I WAS SO SCARED OF THE RATS,

I WENT AND SLEPT ON THE ROOF.

SATURDAY AFTERNOON, SURE ENOUGH, THEY CAME.

I PHOTOGRAPHED THEM

WITH A 300mm LENS FROM THE WINDOW.

THEY NEVER SPOTTED ME-- NEVER.

THE NEXT MORNING I GOT THEM EATING BREAKFAST,

CURSING AT EACH OTHER,

JUST LIKE IN "VIRGINIA WOOLF," THE MOVIE.

THIS YACHT-- THE KALIZMA--

BECAME A LANDMARK FOR THE TOURISTS.

THE BOATS WOULD COME CLOSE.

I CAUGHT LIZ PUTTING UP

GAUZE CURTAINS FOR PRIVACY.

AND I GOT THE PICTURE

OF THE TOURISTS WITH THEIR CAMERAS.

THEY DIDN'T SEE LIZ,

BUT I GOT THE PICTURE FROM ABOVE.

I LIKE THAT PICTURE THE BEST.

TODAY FOR THOSE PICTURES

I COULD HAVE GOTTEN $100,000,

BUT IN THOSE DAYS

I ONLY GOT $400 FROM "THE NATIONAL ENQUIRER"

FOR A DOUBLE-PAGE SPREAD.

I WAS JUST HAPPY THAT IT WAS PUBLISHED.

RON, IS THIS WORTH IT?

IS IT WORTH GOING THROUGH THIS KIND OF THING?

WELL, FOR ME IT IS. I LOVE MY WORK--

PHOTOJOURNALISM.

AND A PAPARAZZI IS JUST A TOOL

THAT MUST BE USED

TO CAPTURE CELEBRITIES AS THEY REALLY ARE,

IN A MORE TRUTHFUL LIGHT.

BETTY, WHAT'S YOUR PART IN ALL OF THIS?

HOW DO YOU VIEW YOUR ROLE IN ALL OF THIS?

RON GALELLA.

WHEN RON MET BETTY,

IT REALLY WAS THE GREATEST THING IN HIS LIFE.

SHE WAS EXACTLY THE PARTNER THAT RON NEEDED.

I'M GOING TO HAVE TO ASK

THAT WE DOUBLE THIS AMOUNT.

YOU KNOW AND I KNOW

IF YOU HAVE TO GO BACK AND REPLACE THIS ART,

IT'S GOING TO COST YOU MORE

THAT MY ASKING YOU TO DOUBLE ON THE PRICE.

I USED TO BUY HIS PICTURES.

I WAS VICE PRESIDENT OF "TODAY IS SUNDAY"

IN WASHINGTON.

WE HAD BEEN PUBLISHING HIS WORK

FOR A YEAR OR TWO.

AND I SAID, "OH, I HOPE SOMEDAY I'LL MEET THIS MAN."

SHE HAD A SOFT VOICE ON THE PHONE, LIKE JACKIE,

ALWAYS LAUGHTER IN HER VOICE.

ONE DAY THE PHONE RINGS.

HE WANTS TO COME TO THE KENNEDY CENTER

THAT SAME NIGHT

TO PHOTOGRAPH THE PREMIERE OF "SUPERMAN."

AND HE SAID, "CAN YOU GET ME IN?"

AND I NEVER THOUGHT SHE WOULD BE A BEAUTIFUL GIRL.

I SAID, "THESE, YOU KNOW, GIRLS FOOL YOU

BECAUSE THEY MAKE UP FOR THEIR LOOKS

WITH NICE PERSONALITIES."

A LITTLE LATER IN THE EVENING HE FLEW IN

AND AS A COURTESY I MET HIM.

WELL, WHEN I LAID EYES ON BETTY, I COULDN'T BELIEVE IT.

I SAYS, "LOOK, THIS GIRL IS BEAUTIFUL."

AND I ASKED BETTY,

"ARE YOU SURE YOU'RE NOT MARRIED?"

SHE SAYS, "NO."

AND I SAID, "I'M GONNA MARRY YOU."

AND WITHIN FIVE MINUTE OF OUR MEETING

HE PROPOSED MARRIAGE.

AND I SAID YES.

AND I THOUGHT, "WELL, HERE'S THIS TALL,

DARK, GOOD-LOOKING HUNK OF A GUY,

AND LOOKING EVER SO NEW YORK CHIC."

I REALLY WAS IMPRESSED.

AND THEN WE WENT

TO THE NEAREST MOTEL AND SHACKED UP.

RON!

WELCOME TO MY GARDENS.

THESE ARE ITALIAN GARDENS.

I BUILT THIS WHOLE WALL HERE,

THIS BELGIUM BLOCK, MYSELF.

AND I BUILT THAT FOUNTAIN MYSELF TOO, RIGHT THERE.

HERE'S A WINDMILL I BUILT

WITH THOSE FLOWERS AT THE BASE.

THIS IS ANOTHER AREA THAT I BUILT UP

WITH THESE FOUR COLUMNS.

AND YOU NOTICE THAT I PUT THESE PLANTERS ON TOP

WITH FAKE EVERGREENS ON TOP.

HE BUYS SILK AND PLASTIC PLANTS.

HE BRINGS THEM HOME AND DIPS THEM

IN A 10-GALLON BUCKET OF POLYURETHANE

AND THEN HE PLANTS THEM

AND CALLS IT HIS GARDEN.

THAT'S ONE EXAMPLE RIGHT THERE.

THIS TOPIARY WAS DIPPED AND--

IT'S AN UTTER, ABSOLUTE HUMILIATION.

BETTY'S PARENTS WERE IN THE FLORIST BUSINESS.

THESE ARE FAKE EVERGREENS--

FAKE EVERGREENS.

RON IS TIGHT

AS THE BARK ON A TREE.

I THINK I ONLY SPENT $20 FOR THIS ONE.

AND THEY COME WITH LIGHTS TOO.

THIS IS THE RABBIT CEMETERY FOR MOST OF OUR RABBITS.

THEY'RE BURIED ALONG HERE.

EACH RABBIT REPRESENTS ANOTHER BURIAL.

IT'S HARD TO PUT TOGETHER, YOU KNOW,

THE RUTHLESS PHOTOJOURNALIST

WITH THE GUY WHO LOVES RABBITS AND PETS RABBITS

AND CLEARLY IS VERY FOND OF HIS RABBITS.

WHY BUNNIES?

THEY'RE CLEAN-- CLEANER THAN CATS.

AND THEY DON'T SMELL.

AND YOU CAN PICK UP THEIR POOP.

IT'S LIKE RAISINS.

AND THEY DON'T MEOW OR BARK.

AND THEY'RE SO SOFT TO TOUCH.

WE JUST LOVE BUNNIES, BOTH OF US.

I HAD COME TO HIM WITH A BACKGROUND IN JOURNALISM,

BUT NOT A SPECIFIC STUDY IN PHOTOGRAPHY.

SO NATURALLY I PICKED UP A CAMERA.

I WANTED TO GO WITH HIM, BE WITH HIM

AND EXPERIENCE THE ACTION FOR MYSELF.

AND IT WAS EXCITING IN THOSE DAYS,

BECAUSE IT WAS THE VERY ZENITH

OF THE DISCO ERA.

AND DOES BIG DADDY LOVE TO DANCE!

♪ DOESN'T TAKE MUCH TO MAKE ME HAPPY ♪

♪ AND MAKE ME SMILE WITH GLEE... ♪

EVERYBODY THAT CAME TO NEW YORK,

EVERY FAMOUS PERSON HAD TO MAKE A TRIP TO STUDIO 54.

THERE IS NOTHING LIKE THAT TODAY, YOU KNOW.

EVERY NIGHT EVERYONE ENDED UP AT STUDIO 54.

♪ I LIKE THE WAY YOU MAKE ME FEEL ABOUT YOU, BABY ♪

♪ WANT THE WHOLE WIDE WORLD TO SEE ♪

♪ OH OH, YOU GOT THE BEST OF MY LOVE... ♪

IT WAS THE BEGINNING OF THE EXPLOSION

OF CELEBRITY JOURNALISM.

STUDIO 54 CREATED THE PLAYGROUND

FOR THESE PHOTOGRAPHS TO BE TAKEN.

♪ ...YOU'VE GOT THE BEST OF MY LOVE... ♪

I ACTUALLY DO THINK THAT RON GALELLA UNLOCKED

THE LITTLE PANDORA'S BOX

OF THE WAY PEOPLE PRESENTED THEMSELVES.

HE CAUGHT PEOPLE COMING OUT OF STUDIO 54

AFTER PARTICULARLY FESTIVE NIGHTS,

STILL ATTRACTIVE BUT WASTED AT THE SAME TIME.

HE GAVE SOMETHING THAT THESE PEOPLE DID NOT WANT

TO PRESENT TO THE PUBLIC.

DO YOU EVER THINK THAT MAYBE YOU'RE FEEDING AN APPETITE

THAT SHOULDN'T BE FED WHEN YOU GET SOME OF THESE PICTURES?

EVERY NEWSPAPER HAS A CELEBRITY COLUMN, A GOSSIP COLUMN.

- A PEOPLE COLUMN-- SURE. - IT REALLY BECAME--

AT ONE TIME IT WASN'T THAT WAY. I'VE BEEN IN THE BUSINESS 20 YEARS.

WHO ARE THE TOUGH ONES TO GET? WHO ARE THE REAL TOUGHIES?

- BRANDO. - BRANDO.

AND WE'RE LOOKING FOR BRANDO.

AND BRANDO IS RIGHT HERE.

WE HAVE ABOUT EIGHT BOXES OF BRANDO.

HE'S A BIG BIG MAN, MORE THAN PHYSICAL.

I'M GOING TO BRING THESE OUT TO SHOW YOU.

MARLON BRANDO.

DICK CAVETT HAD A SHOW

IN NEW YORK ON 58th STREET.

IN THE PAPER IT'S LISTED--

MARLON BRANDO IS GONNA BE ON.

WHEN I HEARD HE WAS GONNA DO IT,

I WAS THRILLED. YOU CAN IMAGINE,

I MEAN, REALLY THRILLED. IN A BUSINESS

WHERE EVERYONE'S EXCITED ABOUT EVERYTHING

AND THRILLED ABOUT EVERYTHING,

I WAS BOTH EXCITED AND THRILLED GENUINELY

AND I COULD HARDLY STAND IT.

NATURALLY I WANTED PICTURES OF BRANDO.

HE WAS SORT OF RECLUSIVE AT THAT TIME,

VERY PRIVATE ON TAHITI-- THE ISLAND THAT HE WAS AT.

RON TOLD ME THAT HE WAS

GOING TO PHOTOGRAPH MARLON BRANDO.

AND I SAID, "RON, I'D LOVE TO SEE WHAT YOU DID."

I DIDN'T ASSIGN HIM TO IT, BUT I SAID, LOOKING FOR A FREEBIE,

"YOU DO IT AND I'M HAPPY TO LOOK AT IT. I'D REALLY LIKE TO."

MARLON BRANDO AS A CELEBRITY WAS NOT A VERY NICE GUY.

HE NEVER LIKED PICTURES, THAT DAY WITH GALELLA OR ANY OTHER DAY.

HE WAS A NASTY PIECE OF SHIT, A NASTY MAN.

JUST WAS, YOU KNOW.

BRANDO WAS GOING TO BE AT 5:00 AT THAT STUDIO.

I WENT EARLY, 12:00 NOON, TO TRY TO GET INFORMATION.

"YOU KNOW ANYTHING ABOUT BRANDO COMING IN?"

"NO NO NO NO NO."

LEAVING THE BUILDING-- THERE'S A LIMO DRIVER.

I ASKED THE CHAUFFEUR, "YOU KNOW ANYTHING ABOUT BRANDO?"

"YES, HE'S COMING IN BY HELICOPTER."

THAT'S ALL I HAD TO KNOW.

HE HAD AWAKENED THAT MORNING

HAVING MISSED THE PLANE TO NEW YORK

THAT HE HAD FORGOTTEN HE WAS SUPPOSED TO BE ON.

TWO HOURS BEFORE TAPE TIME

NOBODY KNEW WHERE HE WAS.

I GOT BRANDO COMING OUT OF THE HELICOPTER

AND THEN A FEW SHOTS GOING INTO HIS LIMOUSINE.

AND THEN I RACED TO THE STUDIO

TO GET HIM THERE, ARRIVING.

BUT IT WAS IMPOSSIBLE TO GET ANY GOOD PICTURES

BECAUSE IT WAS WALL-TO-WALL

FANS AND PHOTOGRAPHERS.

HOW MUCH OF WHAT'S BEEN WRITTEN ABOUT YOU CAN BE TRUSTED?

THERE ARE A COUPLE OF BOOKS. CAN WE TRUST THOSE?

AND IF NOT, HOW DO THEY GET AWAY WITH IT?

I DON'T THINK IT'S WORTH GOING INTO. I MEAN--

ON THEIR PART OR MINE?

NEWS IS BUSINESS. AND PEOPLE SELL NEWS.

AND UNFORTUNATELY PEOPLE IN MY POSITION,

PEOPLE IN THE PUBLIC EYE,

ARE SELLABLE COMMODITIES.

BUT THEY'RE NOT ANY DIFFERENT THAN KLEENEX

OR DIAL SOAP OR ANYTHING ELSE.

AND SO IF WE, YOU KNOW, FIND SOMETHING OUT

ABOUT YOUR SEX LIFE

OR SOMETHING THAT YOU DO WITH YOUR FINGERNAILS

AFTER YOU CUT THEM OFF--

SO WE DID THE SHOW AND HE SAID,

"DO YOU WANT TO GO DOWN TO CHINATOWN?"

THERE WAS AN OLD RESTAURANT HE WAS GOING TO TRY TO FIND.

SO WE HOPPED IN THE CAR,

GETTING PAST RON GALELLA AND SOME OTHERS OUT FRONT.

I WAS PREPARED

TO FOLLOW THE LIMOUSINE, WHICH I DID.

AND THE ONLY PERSON I ALLOWED IN MY CAR

WAS PAUL SCHMULBAUCH.

WE FOLLOWED HIM. THERE WAS NOBODY ELSE

FOLLOWING HIM EXCEPT ME AND HIM.

ABOUT THREE BLOCKS INTO OUR RIDE

THE DRIVER SAID, "RON GALELLA'S FOLLOWING US."

TO BE A GOOD PAPARAZZO, YOU HAVE TO RACE

TO BEAT THE STAR TO THEIR DESTINATION.

SO YOU MUST BE THERE

ON THE SIDEWALK FOR THEIR ARRIVAL.

I SPENT A LOT OF TIME IN RON'S CAR DRIVING AROUND.

AND OFTENTIMES WE WERE CHASING CELEBRITIES.

SO WE WERE ON THESE HIGH-SPEED CHASES,

GOING THROUGH RED LIGHTS. AND IT WAS HAIR-RAISING.

RON'S A WILD MAN BEHIND THE WHEEL.

WHAT I CALL THE PAPARAZZI LANE

IS THE RIGHT-HAND TURN LANE.

BUT I USE THAT LANE TO PASS ALL THE CARS.

NOW I'M GOING TO DO A PAPARAZZI-- WATCH.

OH SHIT.

HE DOES THE SAME THING IN A BUFFET LINE TOO.

HE CUTS RIGHT IN FRONT OF EVERYBODY.

SOMEHOW RON FOUND US

AS WE GOT OUT IN CHINATOWN.

MR. BRANDO SAID TO ME,

"WHICH ONE IS GALELLA?

KEEP THE SAME EXPRESSION ON YOUR FACE.

HE'LL GET TIRED OF TAKING THE SAME PICTURE."

SO WE DID THAT FOR A WHILE.

AND WE START SHOOTING. IT GOES ON FOR A BLOCK OR TWO--

THE SAME PICTURE OVER AND OVER AGAIN.

MARLON LOOKS LIKE

SOME SORT OF MONGOL ASSASSIN FROM THE 13th CENTURY.

AND I LOOK LIKE

WHAT'S KNOWN AS A BIT OF ROUGH TRADE.

I TOOK ABOUT 10 SHOTS,

AND THEN BRANDO CALLS ME OVER AND HE SAYS...

"AREN'T YOU TIRED OF TAKING

THE SAME PICTURE ALL THE TIME?"

AND NEITHER OF US UNDERSTOOD HIM.

AND RON SAID, "WHAT'D YOU SAY?" AND LEANED IN A LITTLE.

"WHAT ELSE YOU WANT YOU DON'T ALREADY HAVE?"

IN HIS RASPY VOICE.

AND HE SAYS, "HEY, MARLON, TAKE THOSE SUNGLASSES OFF,"

IN HIS USUAL POLITE WAY, OF COURSE.

BRANDO DIDN'T ANSWER HIM. HE JUST REARED BACK, AND ONE PUNCH.

WHAM!

KNOCKED OUT FIVE TEETH.

BLOOD GUSHING OUT OF MY MOUTH, I PUT MY HANDKERCHIEF ON MY MOUTH.

AND I LANDED IN BELLEVUE HOSPITAL.

WHO BELIEVES MARLON BRANDO OVERREACTED?

WHO BELIEVES THAT WAS AN APPROPRIATE RESPONSE TO RON GALELLA?

RON COULDN'T FIGHT BACK. HE HAD ALL HIS CAMERAS ON HIM.

AND I SAID, "PAUL, GET IN THE CAR."

PAUL WAS LIKE, WITH HIS MOUTH OPEN, DUMBFOUNDED.

AND WITH HIS CAMERA HANGING FROM ITS STRAP

AND SORT OF SWINGING, MISSING THE PICTURE OF HIS CAREER.

I SAID, "YOU MISSED THE PICTURE."

AND HE GOT IN THE CAR AND WE WENT TO BELLEVUE.

WHERE THEY REWIRED JAW AND TRIED TO FIX HIS TEETH.

WHAT RAN THROUGH MY MIND WAS,

"THIS IS THE MOST THRILLING MOMENT OF MY LIFE,

ONE OF THE MOST VIOLENT

AND CERTAINLY THE STUPIDEST."

I MEAN, I THOUGHT, "WHAT THE HELL ARE YOU DOING?

YOU GET-- FIRST OF ALL, YOU'RE MARLON BRANDO."

I'M ONLY THINKING THESE THINGS, OF COURSE--

"YOU THINK YOU'RE GONNA GET AWAY WITH THIS SHIT?"

HE TOLD ME TO CALL HIS LAWYER, WHICH I DID.

HE GOT MY WIFE LINDA ON THE PHONE

AND HE WAS MUMBLING THAT HE WAS JUST HIT

AND THAT HE COULD HARDLY TALK, AND "WHERE'S STUART?"

AND LINDA SAID, AND WISELY SO,

"I THINK YOU OUGHT TO SEE A DOCTOR IN A HOSPITAL

BEFORE YOU SEE A LAWYER."

AND RON-- "ALL RIGHT, ALL RIGHT."

THE SAME NIGHT, AFTER I'M STITCHED,

I WENT TO THE SHOW CLUB-- AN EVENT AT THE SHOW CLUB.

YEAH, THAT SHOWS YOU HOW STRONG I AM.

THIS THING WAS JUST--

IT DIDN'T HURT REALLY, YOU KNOW.

NOVOCAINE WAS STILL IN.

I GOT THIS CALL THE NEXT MORNING

AND, YOU KNOW, HE SAID,

"I'M RON. IT'S RON GALELLA." "WHO IS IT?"

"JOHN, I CAN'T TALK TOO WELL BECAUSE MY JAW'S BROKEN.

I'M SORRY TO BE LATE,

BUT I'LL COME OVER LATER THIS MORNING."

WE SUED MARLON BRANDO. MARLON BRANDO'S DEPOSITION

WAS LIKE SEEING A MARLON BRANDO MOVIE.

YOU COULDN'T UNDERSTAND A WORD HE SAID.

IT WAS BIZARRE.

WE COULD ASK THE QUESTION, AND THE ANSWER--

WE WOULD LOOK AT EACH OTHER AND WOULDN'T KNOW WHAT HE SAID.

AND WE'D SAY TO THE REPORTER, "READ IT BACK."

AND SHE WOULD LOOK AT US AND WOULDN'T KNOW WHAT TO-- NO ONE KNEW WHAT HE SAID.

HE OFFERED A SETTLEMENT OF $40,000.

OUR INSTINCT WAS TO SAY NO

AND TRY TO INCREASE UPON IT.

WE CALLED RON

AND BEFORE THE $40,000 CAME OUT, RON SAID YES.

BECAUSE, AGAIN, RON SAID, "THAT'S NOT WHAT I'M ABOUT.

IT'S NOT ABOUT THE LAWSUIT TO GET THE MONEY.

WHATEVER. THAT'S FAIR. THAT'S FINE. LET ME GET ON WITH IT.

IT'S JUST I DON'T WANT ANYONE TO THINK

THEY CAN GO AROUND PUNCHING ME

IF I'M TAKING THEIR PICTURE, AND THAT'S WHAT I--

GET THAT STORY OUT, NOT THE MONEY."

HOWEVER, HE'LL GLADLY TELL YOU

WHENEVER HE SPEAKS ABOUT IT THAT WE TOOK A FEE.

THE LAWYERS OF COURSE GOT 1/3.

THE LAWYERS GOT 1/3.

MY LAWYERS GOT 1/3.

THE LAWYERS GOT 1/3.

I GOT $27,000, WHICH IS 2/3.

IT ALL WENT OT THE REPAIRS OF MY CAPS,

WHICH TOOK THREE TIMES TO GET IT RIGHT.

A YEAR LATER HE HAD A PRESS CONFERENCE IN NEW YORK.

OF COURSE I WAS NOT INVITED,

BUT I WAS THERE IN FRONT OF THE PRESS ROOM

PREPARED WITH A HELMET.

RON HAS A SENSE OF HUMOR--

A THING SOME OF HIS COLLEAGUES LACK.

PAPARAZZO SUPERSTAR.

HIS TACTICS ARE DESPICABLE. I THINK OF HIM AS A STALKER.

I THINK THEY'RE LEGAL STALKERS.

YOU CAN TAKE THE FIRST AMENDMENT

TO ITS FURTHEST POINT

AND YOU HAVE RON GALELLA SITTING THERE PROTECTED BY IT.

WELL, THERE'S CERTAINLY A FIRST AMENDMENT ISSUE

SURROUNDING WHAT PAPARAZZI DO.

PAPARAZZI PLAY A NEWS-GATHERING FUNCTION.

THEY'RE ALLOWED TO USE THE STREETS

AS YOU AND I ARE.

THEY'RE ALLOWED TO TAKE PHOTOGRAPHS.

THE HARD QUESTIONS ARISE WHEN YOU ASK

"WELL, ARE THEY ALLOWED

TO TAKE A PICTURE INTO MY HOME?

ARE THEY ALLOWED TO GO UP TO MY CHILDREN

IF I'M A MOVIE STAR

AND START TALKING TO THEM AND FOLLOW THEM AROUND

AND SOME OF THE THINGS THAT WERE DONE

TO JACKIE KENNEDY, FOR EXAMPLE?"

RON GALELLA WENT SO FAR WITH THE LINE

THAT THERE'S HARDLY A JUDGE,

HOWEVER DEDICATED TO THE FIRST AMENDMENT,

WHO WOULDN'T FIND SOMETHING HE DID

TO VIOLATE THE LAW.

FROM OUR PERSPECTIVE, THE CARDS WERE STACKED AGAINST US.

AND WE KIND OF KNEW THAT GOING IN.

YET A JUDGE-- AND KEEP IN MIND, NO JURY.

THIS CASE WAS GOING TO BE DECIDED BY THE JUDGE.

YOU HAD A JUDGE WHO WAS APPOINTED

BY HER LATE HUSBAND, PRESIDENT KENNEDY.

SO WE KNEW WE HAD A PROBLEM.

GALELLA HAD NO IDEA

THAT HE WAS WALKING INTO A BUZZ SAW.

THE FIRST TWO WEEKS OF THE TRIAL

IT WAS BASICALLY PRESENTATION

OF MULTIPLES MULTIPLES AND MULTIPLES OF PHOTOGRAPHS

THAT RON TOOK OF MRS. ONASSIS

AND THE INCIDENTS AROUND THOSE PHOTOGRAPHS.

IT WAS A REMARKABLE MENU

OF THINGS THAT GALELLA DID

TO GAIN ACCESS.

SHE WAS HAVING DINNER IN A RESTAURANT.

HE JUMPED OUT FROM BEHIND A COAT RACK--

A COAT RACK!

SHE WENT TO THE THEATER.

HE WENT DOWN THE AISLE, GOT HER IN HER SEAT.

HE WENT INTO JOHN'S SCHOOL

TO SEE THE CHRISTMAS PAGEANT.

HE TRIED TO GET HER IN JUXTAPOSITION

WITH THE SANTA CLAUS.

RON HAD HIRED A GUY, DRESSED HIM AS SANTA

AND KEPT DOGGING HER ALL THROUGHOUT THE DAY,

TRYING TO GET THIS MAN IN THE SANTA CLAUS SUIT

TO STAND NEXT TO JACKIE.

SHE DODGED HIM ALL DAY.

CELEBRITIES LIKE JACKIE

SEEM TO GET ANNOYED

THAT I'M AFTER THEM TOO MUCH.

SO I PUT DISGUISES ON--

WIGS, I HAVE MUSTACHES,

AFRO WIGS TOO I HAD.

IT WORKED SOMETIMES.

JACKIE HAD A MAID.

I GOT FRIENDLY WITH HER,

TOOK HER TO COFFEE

AND HAD A FEW DATES WITH HER

TO GET INFORMATION MAINLY.

FIRST OF ALL, SHE SAID

JACKIE HAS A WHOLE CLOSET FULL OF THE MAGAZINES.

SEE, IN COURT JACKIE SAYS THAT SHE DOESN'T COLLECT HER MAGAZINES,

BUT SHE DOES.

SHE ALSO GAVE ME TIPS

WHEN JACKIE'S GOING TO THE HAIRDRESSER

OR TO HAVE A FACIAL TREATMENT.

BUT ONE DAY

IN FRONT OF THE BUILDING JACKIE APPEARED.

SHE SAW US.

GRETA WAS FIRED A FEW DAYS LATER.

I FELT VERY BAD.

BUT I DON'T THINK SHE LOVED THE JOB THAT MUCH.

THAT'S WHY SHE GAVE ME THE TIPS.

HAS SHE EVER SAID ANYTHING TO YOU

WHEN SHE'S SEEN YOU TAKING A PICTURE?

OH, YES.

ONCE AT THE AIRPORT, SEPTEMBER, '69,

SHE SAYS TO A NEW YORK CITY POLICEMAN,

"LOCK THIS MAN UP."

THAT'S ALL SHE'S EVER SAID?

- OH, SHE SAID OTHER THINGS. - NEVER SAID HELLO TO YOU?

NO NO.

WHY DID I HAVE THE OBSESSION WITH JACKIE?

WHY? I ANALYZED IT.

BECAUSE I HAD NO GIRLFRIEND.

I WASN'T TIED DOWN, MARRIED.

AND SHE WAS MY GIRLFRIEND IN A WAY.

THIS WAS A PERSONAL RELATIONSHIP.

IT WAS A RELATIONSHIP THAT WAS CONDUCTED

THROUGH THE CAMERA,

BUT IT WAS NEVERTHELESS A PERSONAL RELATIONSHIP.

THAT'S JACKIE AT HER MOST FETCHING--

"DON'T TOUCH ME. DON'T ASK ME ANY QUESTIONS.

DON'T FOLLOW ME."

HE REALLY CAPTURED SOMETHING

THAT WAS VERY ELUSIVE ABOUT HER.

HE LOVED HER.

AND HE LOVED HER CHILDREN.

AND I'M SURE HE NEVER THOUGHT

THAT HE WAS PUTTING THEM IN HARM'S WAY.

I DON'T THINK HE WOULD HAVE LIKED THAT-- THE IDEA OF IT.

THEY MAY HAVE PERCEIVED THAT THEY WERE IN HARM'S WAY,

BUT HE DIDN'T FEEL THAT.

BOTH JACKIE AND RON

BENEFITED FROM THIS

"PUSH ME-PULL ME" THING.

MRS. ONASSIS, ARE YOU PLEASED WITH THE WAY THE TRIAL

- IS GOING SO FAR? - YES, I AM.

DO YOU FEEL THAT TODAY WAS A TURNING POINT IN THIS TRIAL?

WELL, THERE ARE UPS AND DOWNS IN EVERY TRIAL.

NOBODY GOES ALL THE WAY UP OR GOES ALL THE WAY DOWN.

RON, ARE YOU DISAPPOINTED BY WHAT HAPPENED TODAY ON THE STAND?

NO, NOT REALLY.

EVERY CASE HAS ITS UPS AND DOWNS, YOU KNOW.

YOU MUST HAVE HEARD THAT SOMEWHERE.

RON PRODUCED A CHRISTMAS CARD

AND HE SENT IT OUT TO PEOPLE AS A JOKE.

THAT WAS MY GREETING CARD FOR THAT 1970.

I PUT SANTA AS ARI ONASSIS.

I PUT A CIGAR IN HIS MOUTH, DARK SUNGLASSES.

AND THIS SANTA CLAUS LOOKED LIKE ARI

'CAUSE HE HAD A BIG NOSE.

SANTA'S GIVING ME MONEY

BECAUSE ARI ATTEMPTED TO PAY ME

TO SETTLE THE CASE.

I SENT THIS CARD TO JACKIE.

MY LAWYER SAID THAT WAS THE WORST THING THAT I DID.

WELL, JACKIE BROUGHT THIS UP IN THE TRIAL.

IT WAS NOT GOOD FOR ME. IT WAS BAD.

ANY REASONABLE PERSON

WOULD HAVE SEEN THAT CARD

AS EXTORTION. HE WAS SAYING,

"PAY ME OFF AND I'LL STOP."

THEY MADE SUCH AN ISSUE OUT OF IT DURING THE TRIAL

THAT RON STARTED READING INTO HIS OWN CHRISTMAS CARD

MORE THAN WHAT WAS THERE. AND FINALLY WHEN HE WAS ASKED

OUT OF PURE-- I MEAN, JUST OUT OF FRUSTRATION,

THEY SAID TO HIM, "DIDN'T YOU MEAN

THAT YOU WANTED A JOB AND YOU WANTED A BRIBE

TO GET RID OF-- TO STOP SEEING HER?"

HE SAID, "YES."

TO HIM IT WAS AN ORDEAL.

AND I WOULD SAY TO HIM, "RON, WHY?"

HE SAID, "NOW THEY'VE STOPPED QUESTIONING ME. ISN'T THAT EASY?"

"BUT IT'S GONNA WORK AGAINST YOU." HE SAID, "NO NO NO,

IT'LL NEVER WORK AGAINST ME. WHAT I DO IS GOOD AND POSITIVE.

SO WE'LL GET RID OF THIS PART OF THE QUESTIONING."

EVENTUALLY JUDGE COOPER

BECAME QUITE ANNOYED WITH RON GALELLA

AND ADOPTED THE VIEW

THAT HE SHOULD BE KEPT A DISTANCE AWAY.

MRS. JACQUELINE KENNEDY ONASSIS

WON A CASE IN FEDERAL COURT TODAY.

SHE GOT A PERMANENT INJUNCTION AGAINST...

...FREELANCE PHOTOGRAPHER RONALD GALELLA,

ORDERING HIM NOT TO GET WITHIN 50 YARDS

OF JACQUELINE KENNEDY ONASSIS

OR WITHIN 75 YARDS OF HER CHILDREN.

RON GALELLA WAS SEEN AS A VILLAIN.

I RECEIVED TELEPHONE CALLS

AFTER SOME OF MY REPORTS

DAMNING RON FOR WHAT HE HAD BEEN DOING.

AS A MATTER OF FACT, I RECEIVED A LETTER

FROM ONE VIEWER, ADDRESSED TO RON GALELLA,

CARE OF THE TELEVISION STATION--

"YOU ARE A RAT!

I PRAY THAT YOU WILL BE REPAID BY GOD

THAT YOU GET PAID BACK

FOR THE MISERY YOU ARE CAUSING

A WOMAN WHO HAS GONE THROUGH HELL--

A HELL CAUSED BY ANOTHER MANIAC LIKE YOU.

YOU ARE STUPID, MONSTROUS AND SLIMY.

YOU SHOULD BE DEPORTED TO AN ISLAND TO ROT!"

UNSIGNED.

WAS THAT THE PREVAILING SENTIMENT AT THE TIME?

I DON'T KNOW IF IT WAS AS VOCAL AS THIS,

BUT A LOT OF PEOPLE WERE ANTI-RON GALELLA.

THIS IS MARVIN SCOTT WITH THE STORY OF A PHOTOGRAPHER

WHOSE LENS HAS BEEN CAPPED BY JACKIE ONASSIS.

NOW THE COURT ORDER SAYS YOU'VE GOT TO SAY 100 YARDS FROM THE BUILDING

AND 50 YARDS FROM MRS. ONASSIS AND HER CHILDREN.

- YES. - DO YOU CARRY A TAPE MEASURE WITH YOU?

- NO. - A YARD COUNTER?

NO, I DON'T. I NEED A REFEREE.

DO YOU THINK YOU'LL BE PHOTOGRAPHING HER AGAIN SOON?

I HOPE SO.

I HOPE THAT THIS COURT ORDER IS OFF ME,

'CAUSE I WOULD LIKE TO GET BACK

TO PHOTOGRAPHING MY FAVORITE SUBJECT.

WHAT KIND OF HUMAN BEING DOES IT TAKE

TO PHOTOGRAPH PEOPLE WHO DO NOT WANT TO BE PHOTOGRAPHED...

- THEY WANT TO BE PHOTOGRAPHED. - ...WHETHER THEY'RE CELEBRITIES OR NOT?

- OH, THEY WANT TO BE. - NO, THAT'S NOT NECESSARILY TRUE.

AND IT JUST DOESN'T STOP HIM.

HE WILL DO ANYTHING NECESSARY

TO GET THAT SHOT.

ANGELINE JOLIE AND BRAD PITT

ARE THE NUMBER-ONE HOT COUPLE.

SO I'LL GO AFTER THEM

LIKE I WENT AFTER THE OLD-TIMERS.

I THINK WE'RE GOING THIS WAY.

- RON GALELLA. - OKAY.

ANGELINA! ANGIE!

I'M GONNA GO IN THE FRONT. FUCK THIS.

- HI. - HI.

I'M SORRY, YOU CAN'T COME ANY CLOSER. - YEAH, OKAY.

YOU HAVE TO GO BACK.

RON GALELLA!

-RON IS THE MAN! -YOU'RE GETTING KICKED OUT.

RON, GO INSIDE!

"DEAR BRAD AND ANGELINA,

DID YOU RECEIVE MY FEDEX PRESS PACKAGE

WITH TWO OF MY BOOKS?

WHILE COVERING

THE 'CHANGELING' SCREENING TONIGHT,

I WAS UNABLE TO MEET BOTH OF YOU,

BUT I DID GET SOME GOOD PICTURES.

WOULD YOU BE SO KIND AS TO GIVE AN OPPORTUNITY

OF MEETING YOU BEFORE YOU LEAVE TOWN?"

DOES THAT MAKE SENSE? "MEETING WITH ME" I SHOULD SAY?

"I MEETING YOU," EH?

SHOULD I ADD ANYTHING?

"HOPE TO HEAR FROM YOU SOON," SOMETHING LIKE THAT?

WE KNOW THAT IF YOU WRITE A LETTER

TO BRAD PITT AND ANGELINA JOLIE,

THE CHANCES OF THEM EVER EVEN SEEING IT

IS ZERO.

THE CHANCES OF THEM READING IT

IS BELOW ZERO.

AND THE CHANCES OF THEM DOING ANYTHING

BASED UPON THAT LETTER IS WAY BELOW ZERO.

SHOULD WE TRY TO PHONE?

BUT RON WILL STILL WRITE A LETTER

TO BRAD PITT AND ANGELINA JOLIE.

THAT'S WHAT GETS RON UP IN THE MORNING.

THAT'S WHAT GETS HIM IN HIS CAR,

GOING THROUGH THE LINCOLN TUNNEL ONE MORE TIME

AND JUST DOING WHAT HE DOES.

THESE RESTRICTIONS-- THE 100 YARDS

AND THE 75 YARDS AND THE 50 YARDS--

ESSENTIALLY PUT RON OUT OF BUSINESS.

I APPEALED THE DECISION.

AND THE APPEAL WAS OVER IN 1975.

THE APPELLATE COURT SAID,

"EH, IN THE EXERCISE OF DISCRETION

THAT WAS OVERKILL.

INSTEAD OF 150 YARDS,

I'LL DO 25'."

RON SAID, "I'M BACK IN BUSINESS."

AND HE STARTED TO SHOOT JACQUELINE ONASSIS AND THE CHILDREN AGAIN.

JACKIE ONASSIS MADE

A VERY RARE VISIT TO LOS ANGELES.

RON WAS THERE.

AND I KNEW SOMETHING WAS UP, BECAUSE HE JUST WANTED TO MAKE SURE--

"ARE YOU GONNA BE THERE?" "YES, I'M GONNA BE THERE."

AND I POSITIONED MYSELF BY THE LIMOUSINE

AND I SHOT TWO FRAMES OF IT.

THE FIRST FRAME--

THE FLASH DIDN'T GO OFF. IT WASN'T RIGHT.

AND THE SECOND FRAME-- HE PULLS OUT THIS TAPE MEASURE.

HE MADE IT HIMSELF. AND IT SAYS,

"KEEP YOUR DISTANCE. 25'."

AND RON IS LOOKING WITH HIS BIG SMILE--

"JACKIE!"

♪ GET THE CAMERAS ROLLING

♪ GET THE ACTION GOING...

ARI ONASSIS DIED

AND HER PICTURES BECAME IN DEMAND,

BECAUSE SHE WAS BEING ESCORTED BY OTHER MEN

AND WE THOUGHT THAT SHE MIGHT GET MARRIED AGAIN.

♪ ...MORE MORE MORE

♪ HOW DO YOU LIKE IT? HOW DO YOU LIKE IT? ♪

♪ MORE MORE MORE

♪ HOW DO YOU LIKE IT? HOW DO YOU LIKE IT? ♪

♪ MORE MORE MORE

♪ HOW DO YOU LIKE IT? HOW DO YOU LIKE IT? ♪

THE FACT IS, HIS BODY OF WORK

IS CERTAINLY NOT WONDERFUL FROM A PHOTOGRAPHIC STANDPOINT.

IT'S WONDERFUL FROM A SUBJECT STANDPOINT.

THIS ISN'T ONE OF THE GREAT ONES.

IT'S A SNAPSHOT.

- I WOULD HAVE THROWN THIS AWAY. - I KNOW YOU WOULD HAVE.

I'M JUST SAYING I WOULD HAVE THROWN IT AWAY.

I CERTAINLY CAN LOOK THROUGH RON'S BOOK

AND BE, YOU KNOW, QUITE IMPRESSED

WITH SOME OF THE MOMENTS, IF YOU TAKE A SECOND LOOK AT THEM.

BUT IT'S THE SUBJECT THAT ATTRACTS YOU,

NOT HIS PHOTOGRAPH OF IT.

LET'S SAY ONE UNDERGROUND ROOM

WITH 18' LEAD WALLS

WAS THE ONLY THING THAT SURVIVED IN THE YEAR 10,000,

AND THEY HAD RON GALELLA'S 3 MILLION PICTURES IN IT.

AND THE ARCHEOLOGISTS FROM OUTER SPACE

WERE TO COME IN AND FIND THIS,

AND THEY'D HAVE TO RECREATE CIVILIZATION FROM THAT.

WOULD YOU RATHER HAVE THAT OVER, LET'S SAY,

IF THEY'D FOUND THE SAME THING

WITH WALKER EVANS OR RICHARD AVEDON

OR TITIAN OR LEONARDO DA VINCI?

THERE'S RINGO. THAT'S A GOOD PICTURE.

THAT PICTURE MAKES ME THINK, "GOD, I WISH I'D SHOT THAT."

THAT'S A VERY GOOD PICTURE.

HOW DO YOU FEEL ABOUT RON GALELLA

GETTING INTO THE MUSEUM OF MODERN ART?

WHICH GIVES HIM A CERTAIN LEVEL OF CREDIBILITY

IN THE ART WORLD, BECAUSE NOW--

I'M SURE IT'S BECAUSE YOU LOOK AT WHAT'S BEING SHOT

DURING A PERIOD OF TIME,

WHAT REPRESENTS PHOTOGRAPHY, YOU KNOW, IN CERTAIN DECADES.

I THINK WHAT'S GOING ON NOW WITH CURATORS

WANTING RON'S WORK

FOR GALLERIES ALL ACROSS THE WORLD--

WOW, THIS LOOKS FANTASTIC.

- -KNOWING THAT, HEY,

WHAT'S THE DIFFERENCE BETWEEN ONE OF RON'S SHOTS

AND A WALKER EVANS PHOTO

THAT HE PHOTOGRAPHED IN A NEW YORK CITY SUBWAY?

- HOW MANY DO YOU HAVE NOW? - I THINK 100-- 100.

SO NOW 30 YEARS LATER

PEOPLE ARE EATING THESE PICTURES UP.

FOR ME HE IS THE ONE.

HE IS AN ARTIST. HE IS AN ICON.

HE'S THE POPE OF PAPARAZZI.

HE INVENTED KIND OF A NEW STYLE.

IT'S GOT ENERGY.

IT'S GOT LIFE IN IT, HUMOR.

AS AN ARTIST,

I THINK YOU HAVE TO KEEP ON PUSHING YOURSELF.

AND HE FOUND THIS VEHICLE.

AND THE ONLY THING THAT HE PUSHED HIMSELF TO DO

WAS DO MORE OF THE SAME OF THAT.

SUMMER OF 1981--

I GOT A CALL FROM DAVID McGOUGH.

I WAS AT HOME IN YONKERS.

"OH, RON, GET HERE QUICKLY.

JACKIE'S GOING TO THE MOVIE THEATER."

JACKIE WAS THERE SEEING THE FILM "DEATH IN VENICE."

SO RON JUMPED IN THE CAR WITHOUT ME

AND THEY PHOTOGRAPHED JACKIE

COMING OUT OF THE THEATER

AND HAILING A CAB.

AND SURE ENOUGH, THE TAXICAB BROKE DOWN.

SO NOW JACKIE GETS OUT OF THE CAB ON 8th AVENUE.

AND 8th AVENUE WAS PRETTY SLEAZY BACK THEN.

SHE WALKED IN THE STREET, LOOKING FOR A CAB.

AND THIS PROLONGED THE TAKE.

RON WAS VERY EXCITED.

YOU COULD TELL THAT SHE WAS GETTING MORE AND MORE ANGRY

EVERY TIME SHE HEARD HIS VOICE.

AND THEN SHE FINALLY TURNED TO HIM AND SAID,

"YOU STAY AWAY FROM ME

OR I'LL SEE YOU IN COURT AGAIN."

I THINK SHE SAID-- MAY HAVE SAID THAT.

HE SAID, "OH, JACKIE, I LOVE YOU."

HE WAS JUST HAPPY

THAT HIS PICTURE WAS IN THE PAPER WITH JACKIE.

HE WAS THRILLED ABOUT THAT.

AND THAT BECAME EVIDENCE FOR HER

THAT HE INDEED HAD BROKEN THE INJUNCTION.

JACQUELINE ONASSIS LISTED HER GRIEVANCES

AGAINST ONE OF HER MOST PERSISTENT FOLLOWERS TODAY--

PHOTOGRAPHER RON GALELLA.

CHARGES THAT HE VIOLATED A 1975 COURT ORDER

TO COME NO CLOSER THAN 25' FROM MRS. ONASSIS.

JACQUELINE KENNEDY ONASSIS LOOKED ANXIOUS

TO RETURN TO FEDERAL DISTRICT COURT

SO THAT SHE COULD GIVE HER OWN TESTIMONY.

PHOTOGRAPHER RON GALELLA

WAS TOLD TODAY BY A NEW YORK JUDGE

THAT IF HE EVER DOES IT AGAIN,

HE'LL BE SENT TO JAIL FOR SIX YEARS.

GALELLA TOLD THE JUDGE HE'S CHOSEN

A NEW SUBJECT FOR HIS PHOTOGRAPHIC PURSUIT.

PRINCESS GRACE, I DON'T KNOW

WHETHER YOU FOLLOWED THE NEWS RECENTLY,

BUT WE HAVE A PHOTOGRAPHER IN THIS COUNTRY CALLED RON GALELLA.

YES, I KNOW HIM VERY WELL. IS HE HERE?

I HAVEN'T SEEN HIM TODAY YET. HE'S SLIPPING.

RON HAS SAID THAT HE'S UNDER COURT ORDERS NOW

TO SHOOT NO MORE PHOTOGRAPHS OF MRS. ONASSIS

AND THAT YOU ARE NOW HIS NEW NUMBER-ONE FAVORITE.

HOW DO YOU FEEL ABOUT THAT?

SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

WE USUALLY LOCK THE DOOR IN THE DARKROOM.

OKAY, NEXT.

PLACE THE NEGATIVE.

LITERALLY ANYONE CAN BE A PAPARAZZO TODAY.

IT DOESN'T HAVE TO BE GOOD QUALITY.

AND WE OPEN THE LENS.

AND WE FOCUS.

THE ACTUAL SKILL OF BEING A PHOTOGRAPHER

HAS REALLY DESCENDED COMPLETELY

TO THE POINT WHERE IT'S UNNECESSARY.

THE SHORTSTOP

THAT STOPS THE DEVELOPMENT.

OKAY, NOW I PUT THE LIGHT ON.

THEN YOU LOOK AND YOU SAY,

"WELL, MAYBE IT'S A LITTLE LIGHT HERE."

I COULD DARKEN THAT.

SEE, IT'S A LITTLE TOO LIGHT.

NO GOOD.

DARKEN IT. THIS IS HOW YOU DARKEN IT.

WHEN I HEARD JACKIE DIED,

I WENT TO THE BUILDING, 1040 5th AVENUE,

BUT I DID NOT SHOOT PICTURES.

IT WAS LIKE A MOURNING FOR ME,

AND A SADNESS TO SEE A GREAT ICONIC,

MY MOST FAMOUS SUBJECT

DEAD, YOU KNOW.

I DON'T THINK SHE KNEW IT WAS ME.

THAT'S WHY SHE SMILED A LITTLE.

I THINK IN THE END

SHE WAS MAYBE POSING FOR HIM

MORE THAN WE KNOW.

SO SHE MUST HAVE HAD

A LITTLE FEELING FOR RON.

WHETHER YOU LIKE IT OR NOT,

THERE ARE MANY MANY MORE PHOTOGRAPHS PUBLISHED OF CELEBRITIES

THAN THERE ARE OF FAMINE, WAR

OR ANY OF THE OTHER, YOU KNOW, IMPORTANT THINGS

THAT ARE HAPPENING AROUND THE PLANET.

COUNTED IN EITHER DOLLAR TERMS

OR THE NUMBER OF IMAGES SUPPLIED TO THE MEDIA,

THEY'RE PROBABLY THE MOST IMPORTANT

PHOTOJOURNALISTS ALIVE TODAY.

-IT WAS... -A FASCINATING CASE.

LOOK AT ALL THE ATTENTION IT GOT--

THE COURTROOM FULL OF REPORTERS.

- PEOPLE WAITING ON LINE. - INCREDIBLE.

AND THE BEST PROOF IS THAT HERE WE ARE,

35 YEARS LATER, STILL DEBATING THE ISSUES.

AND IT'S BEEN TAUGHT IN LAW SCHOOLS.

- IT'S BEEN A TEXTBOOK-- - I'D BE NAIVE TO--

AND THE CASE IS CITED OVER AND OVER AGAIN.

- ABSOLUTELY RIGHT. - OVER AND OVER AGAIN.

WHO'S FILMING HERE?

- "NOTORIOUS." - NOTORIOUS B.I.G.

- YOU SHOULD KNOW THAT. - ANY STARS?

HE'S THE PAPARAZZI. YOU DON'T KNOW WHO THIS GUY IS?

ARE YOU KIDDING ME?

HE PHOTOGRAPHED JACKIE O WHEN SHE DIED HERE. - THAT'S RIGHT.

I KNOW THAT. I KNOW WHO YOU ARE. I'M IN SHOW BUSINESS.

I OUGHT TO KNOW. THESE GUYS-- TELL THEM, "KNOW YOUR BUSINESS," RIGHT?

AND BRANDO KNOCKED FIVE TEETH OUT OF MY JAW.

- WHO DID? - MARLON BRANDO.

YEAH, RIGHT RIGHT, I REMEMBER THAT.

HE PUNCHED YOU. WHY? HE WAS A WISEASS, RIGHT? - YEAH YEAH.

WHAT DID YOU DO TO HIM? YOU GOT IN HIS FACE?

HE GOT IN HIS FACE, TOOK HIS PICTURE. - I TOOK HIS PICTURE.

- AND HE PUNCHED YOU? - AND THEY TALK ABOUT SEAN PENN BEING A WISE GUY, RIGHT?

HE'S ANOTHER PRICK.

SO WHO'S THERE? ANY BIG STARS?

ANGELA BASSETT. SHE'S IN THERE.

- OH, RIGHT RIGHT. - A COUPLE OF RAPPERS, MAYBE PUFFY.

OKAY, THANK YOU.

YOU HAVE TO LEARN TO ASK QUESTIONS.

RON GALELLA SOMETIMES--

IN HIS CASE, HE DIDN'T DESERVE THE FIRST AMENDMENT.

BUT EVEN WHEN HE DOES, WE PROTECT HIM

MORE BECAUSE WE DON'T WANT TO START PICKING AND CHOOSING

BETWEEN WHOM WE PROTECT AND WHOM WE DON'T PROTECT.

SEE, THERE'S THE TENT. THAT'S WHERE THE ARRIVALS ARE.

HE'S REALLY THE PRICE TAG

OF THE FIRST AMENDMENT.

TOOK MILLIONS OF PICTURES. THOUSANDS OF THEM

ARE HANGING IN MUSEUMS, BUT SO WHAT, YOU KNOW?

RON GALELLA WILL GO DOWN AS THIS OBSCENE,

BOTTOM-FEEDING SNAPSHOT

TABLOID SO-CALLED JOURNALIST.

YOU JUST WAIT AND SEE.

WAIT 50 YEARS AND CHECK IT OUT, ALL RIGHT?

- HI. - HEY, RON.

THE KING IS HERE.

IT'S HARD TO SAY

WHETHER HE WILL EVEN BE REMEMBERED IN 50 YEARS' TIME.

IN A WAY IT DOESN'T REALLY MATTER,

BECAUSE RON'S LIFE

AND RON'S WORK

IS VERY MUCH ABOUT THE NOW.

HE LOOKS SO FAMILIAR,

BUT I CAN'T REMEMBER WHAT HIS NAME IS.

IT'S JOHN BELUSHI.

JOHN BELUSHI, THERE YOU GO. THAT'S WHO THAT IS.

UH, I'M GONNA CHEAT ON THIS ONE.

I DON'T KNOW WHO THIS IS.

BUT IT SAYS IT'S TYLER BURTON.

IT'S A BEAUTIFUL PHOTO.

I SHOWED PICTURES THE OTHER DAY OF JUDY GARLAND.

HONEST TO CHRIST, PEOPLE DIDN'T--

A LOT OF THEM DIDN'T KNOW WHO SHE WAS.

THIS GUY-- I HAVE NO IDEA, NO.

- WHAT'S YOUR NAME? - GALELLA, RON.

AND ON THIS SIDE WE HAVE STEVE McQUEEN.

IS HE A DIRECTOR OF SOME SORT?

IT'S CRAZY. IT'S JUST CRAZY.

WHEN I WAS DOING IT, AND THE GREATEST STARS--

THERE WERE HARDLY ANY PHOTOGRAPHERS AROUND.

GRACE KELLY. I'M NOT SURE WHO THAT IS.

ANOTHER BEAUTIFUL GIRL-- BARDOT.

SHE LOOKS LIKE A MODEL. IS SHE AN ACTRESS?

MY PICTURE-TAKING IS FINISHED.

THERE'S NO NEED FOR ME TO SHOOT TODAY

BECAUSE THERE'S VERY LITTLE TO BE SHOT.

THE ICONIC STARS ARE GONE.

THAT'S THE GREATEST THING IN MY LIFE,

IS TO SELL THESE PRINTS AND MY BOOKS.

THERE ARE SO MANY BOOKS THAT I WANT TO DO.

I THINK THIS IS JACKIE ONASSIS AGAIN.

RIGHT? LOOKS LIKE THE SAME PERSON.

JACKIE ONASSIS AND BOBBY.

BOBBY KENNEDY?

WOW, YES.

WHAT I DO NOW-- IT'S THE HARVEST OF MY LIFE.

MILLIONS-- MILLIONS OF PICTURES.

I CAN'T COUNT THEM. THERE'S MILLIONS.

♪ I'LL BE SEEING YOU

♪ IN ALL THE OLD FAMILIAR PLACES ♪

♪ THAT THIS HEART OF MINE EMBRACES ♪

♪ ALL DAY THROUGH

♪ IN THE SMALL CAFE

♪ THE PARK ACROSS THE WAY ♪

♪ THE CHILDREN'S CAROUSEL

♪ THE CHESTNUT TREES

♪ THE WISHING WELL

♪ I'LL BE SEEING YOU

♪ IN EVERY LOVELY SUMMER'S DAY ♪

♪ AND EVERYTHING THAT'S LIGHT AND GAY ♪

♪ I'LL ALWAYS THINK OF YOU THAT WAY ♪

♪ I'LL FIND YOU IN THE MORNING SUN ♪

♪ AND WHEN THE NIGHT IS NEW ♪

♪ I'LL BE LOOKING AT THE MOON ♪

♪ BUT I'LL BE SEEING YOU ♪

♪ I'LL BE SEEING YOU

♪ IN ALL THE OLD FAMILIAR PLACES ♪

♪ THAT THIS HEART OF MINE EMBRACES ♪

♪ ALL DAY THROUGH

♪ IN THE SMALL CAFE

♪ THE PARK ACROSS THE WAY ♪

♪ THE CHILDREN'S CAROUSEL

♪ THE CHESTNUT TREE

♪ THE WISHING WELL

♪ I'LL BE SEEING YOU

♪ IN EVERY LOVELY SUMMER'S DAY ♪

♪ AND EVERYTHING THAT'S LIGHT AND GAY ♪

♪ I'LL ALWAYS THINK OF YOU THAT WAY ♪

♪ I'LL FIND YOU IN THE MORNING SUN ♪

♪ AND WHEN THE NIGHT IS NEW ♪

♪ I'LL BE LOOKING AT THE MOON ♪

♪ BUT I'LL BE SEEING YOU. ♪

IT'S TOO HARD.

IT'S HARD.